Just A Little Bit Random

Carry-On – Review

Cert – 15, Run-time – 1 hour 59 minutes, Director – Jaume Collet-Serra

TSA agent Ethan (Taron Egerton) is threatened to let a deadly package onto a Christmas Eve flight, or else the mysterious passenger (Jason Bateman) speaking to him via an earpiece will kill his partner (Sofia Carson).

Carry-On is less Die Hard on cruise control and more Die Hard 2 on cruise control. Not just because of the airport setting, much of which is confined to security where passengers carry-on items are being scanned, but also because of the idea of terrorists plotting to ruin Christmas.

The man behind the scheme, who refutes the terrorist label, credited as Traveler (Jason Bateman) is little-seen throughout the film. Largely confined to the background of moving crowds or shown from the back. For the most part we hear his voice speaking into the ear of Taron Egerton’s TSA agent Ethan. Being encouraged by his recently-pregnant partner (Sofia Carson), who also works at LAX, to go back to police training he’s looking for a promotion. However, his dismissive boss (Dean Norris) says he needs to put in the effort and show that he wants the job. When things don’t go to plan for Traveler, Ethan becomes his blackmail victim, claiming to have a sniper ready to kill his partner if he doesn’t allow a deadly case of novichok onto a Christmas Eve flight.

The relationship between uncertain, yet outwardly calm, Ethan and the antagonist in his ear is certainly no McClane and Gruber, and as a whole the beats of their interactions, and the film as a whole feel very familiar. We’ve seen Carry-On’s arc a number of times and as a whole it means that this iterations feels tired quickly. While throwing in a subplot about LAPD detective Elena Cole (a wasted Danielle Deadwyler) following a track which leads to the airport this strand never has the energy to properly lift off. Instead it quickly falters and feels like out of place padding, which contributes the worst scene of the film in a truly terrible and visually ugly car fight, to simply build-up a character relevant to the third act.

Back in the airport there are some likable moments, largely as we see Egerton properly confront the situation at hand in a more upfront way, taking things into his own hands instead of being lead by Bateman’s character, despite the threatened consequences. Yet, for the sake of keeping the villain in frame and giving control back to him, often things loop back round to the mystery flyer regaining the upper hand and using Ethan as a pawn in his deadly plan, and if he doesn’t play along the whole airport could go down.

The stakes are made clear throughout, although not always felt depending on the circumstance and how far through the film we are, but they do add to the increasing desperation and worry of Egerton’s character who feels consistently out of his depth. The build-up relating to his home life is clearly in place to simply push lightly referenced details on to him to give him something to fight for, the effect they have is similarly light and at times feels forced when the focus of interactions with Carson’s Nora during breaks, where Bateman is still talking to him via the earpiece. Scenes like these help with certain character dynamics but eventually dip back into making Carry-On fall under the weight of its familiarity, and lacking nature when it comes to the overall suspense. It means that the film falls and struggles to find its own footing, following that steadily paved by other films and feeling almost like a copy of those instead.

References to Die Hard and its sequel are impossible not to make as Carry-On borrows from their formula and leads to a tired and familiar festive thriller that never quite captures the action or suspense that it wants.

The Lord Of The Rings: The War Of The Rohirrim – Review

Cert – 12, Run-time – 2 hours 14 minutes, Director – Kenji Kamiyama

When the throne of Rohan is challenged by the vengeful leader (Luke Pasqualino) of a rival people, the king’s (Brian Cox) daughter, Héra (Gaia Wise), leads the defence while their people hide away in a surrounded mountain fortress.

It’s been widely reported that The War Of The Rohirrim was rushed into production so that New Line Cinema could keep the film rights to adapt the works of J.R.R. Tolkien. Yet, this anime fantasy set in the same world as Peter Jackson’s live-action trilogy features credits for a number of returning names, with the archives from those films having been opened up to the filmmakers here. The dramatic fantasy is enhanced by the detail of the animation and creates a film which feels the opposite of a cash-grab.

Based on appendices from Tolkien’s books, The War Of The Rohirrim follows Héra (Gaia Wise), the daughter of the king of Rohan; the brilliantly named Helm Hammerhand (Brian Cox). After killing a rival leader (Shaun Dooley) who seeks to usurp the throne, his son, Wulf (Luke Pasqualino), a childhood friend of Héra, seeks vengeance, and doesn’t hold back on his near-instant attacks. Whether fights involve fists, swords or entire armies the framing of each sequence is undeniably cinematic. There’s a thrilling sense of scale which makes the most of the big screen and the animation style in general.

At times the visual nature of certain scenes and creatures calls back to animated fantasies of the 70s and 80s, Ralph Bakshi – who had his own take on The Lord Of The Rings – comes to mind. Much of the run-time is made up of action, or building up to a major battle. As the people of Rohan suffer fiery attacks from Wulf and the ‘wildmen’ of the Dunlendings they escape to the mountain fortress of the Hornberg. Tension escalates as we see the progression of Wulf and his men’s attempt to stage a siege, especially as all suffer a harsh winter. As these events unfold director Kenji Kamiyama brings in a strong sense of atmosphere to the film as a whole. Adding to the overall suspense that the film’s events hold, moving from one event to the next with ease.

At almost two-and-a-quarter hours the run-time does begin to feel long as the third act unfolds and while there’s still enjoyment to be found in the increasingly upfront and angered clashes and the ideas which crop up within them. What helps things move along is the fact that they rarely feel as if they’re trying to build up to or reference Jackson’s trilogy, taking place almost 200 years after the events of this film. One or two moments crop up here and there, some more clanging than others, but as a whole this works as an effective appendix adaptation following a traditional rival-armies outline.

One which is effectively led by Héra at the centre of the action. With Gaia Wise providing a voice performance which captures a determined and headstrong character, particularly the more the film goes on. As a whole the voice cast appears to improve as things develop, moving on from the feeling that most are simply audio acting rather than acting for animation or film, aside from Brian Cox who gives an enjoyable, increasingly bellowing performance throughout. The elements quickly come together and make for a frequently fantastic return to this iteration of Middle Earth, if in a different form; one which brings a lot to the overall tone of the fantasy and tension at hand.

While it might begin to feel overlong there’s still plenty to enjoy about the suspenseful action and spectacle of The Lord Of The Rings: The War Of The Rohirrim’s traditional fantasy clash.

LFF 2024: Flow – Review

Release Date – 21st March 2025, Cert – U, Run-time – 1 hour 25 minutes, Director – Gints Zilbalodis

A group of animals band together to survive in an old boat when their homes are destroyed by a mass flood.

In a world without dialogue the language we hear throughout Flow are a variety of animal noises and the natural world that surrounds the central group constructed of a cat, dog, lemur and capybara. The sound design throughout is fantastic and, alongside the sparingly used score, manages to bring us in to the initial disaster and subsequent story of interspecies survival. As a giant flood rushes into the habitat of the animals, largely seen through the eyes of a small black cat, there’s a genuine sense of stress and panic as each situation and hint of safety is quickly disrupted, or made worse, by a rapidly rising tide.

While the animation of this €3.5 million feature may not be what we’ve become ‘used to’ over the last few years there’s still a number of really nice shots which look great on the big screen, stay through the credits for one of the best of the film. The scenery and various locations we visit are brought to life thanks to the perspective of both the environment and the equally natural course in which the flood takes the characters travelling in their old, tired-looking boat. The world may be filled with water, but there’s plenty to look at and visually enjoy about the different locations we visit over the course of a short run-time.

With each place visited the overall arc that Flow covers manages to avoid repetition and keeps a steady, consistent pace. There’s a gentle feeling to the film as a whole but it isn’t without its moments of peril and tension as the fight for survival, and at times with the world around them and other animals, is put at the focus of a particular sequence. Yet, within the core grouping there’s a believable unit. Their behaviours and expressions are kept largely natural, with some assistance from the animated world, and yet a good deal of emotion comes across from each, combining to create a stronger eventual team looking for survival both individually and coming together by some form of coincidence, but quietly surviving as a whole.

Much of what causes Flow to work is rather quiet. It’s a film that appears to have been made on something of a small scale but makes a big splash because of the overall effect that it has in communicating its sequences led by a believable group of non-speaking animated animals. All going through a well-rounded set of events made with a fluid style which avoids feeling chaptered, and locations which should be seen on the big screen for the best impact.

A small film with a big visual and audible impact from its sound and story, Flow takes a group of believable animal characters and uses them to express much of the wonder and tension there is to be found within an overall rather gentle film.

LFF 2024: The Colours Within – Review

Release Date – 31st January 2025, Cert – U, Run-time – 1 hour 41 minutes, Director – Naoko Yamada

Shy teenager Totsuko (Sayu Suzukawa) can see people’s auras as colours, when drawn by the bright blue aura of fellow student Kimi (Akari Takaishi) the pair, alongside musician Rui (Taisei Kido) form a secret band.

The strand which gives The Colours Within its biggest source of colour and personality involves teenager Totsuko (Sayu Suzukawa) seeing people as colours. These bright bubbles which surround those she sees are how she often gets to know people, being too shy to properly talk to them. That is until she meets fellow student Kimi (Akari Takaishi) and in trying to talk to and get to know her the pair inadvertently end up forming a band, alongside musician Rui (Taisei Kido), after an interaction in a book shop where Totsuko works involving books of sheet music.

The scene is early on, and even before this it feels as if the idea of seeing colourful auras has been dropped in exchange for a conventional and very familiar narrative which while constructing the bulk feels as if it’s from a different film to the one initially built up. The idea of the colours within is subsequently barely brought up or mentioned in exchange for the story of a group of young people, largely strangers to each other, starting up a band. The band is a secret from both their families and the school, fearing that it would be instantly discouraged and consequences would be faced, particularly if the latter were to find out after Kimi no longer attends.

We’ve seen this outline, and indeed a handful of the scenes within it, a number of times before but at least they’re handled well enough by writer Reiko Yoshida and director Naoko Yamada to stop things from becoming a long trudge. Some of the final stages might feel drawn out, and once scene involving a concert feels as if it could get to the main song quicker instead of going through two others beforehand.

While the point that kicks off the relationship between the central trio may be moved aside for much of the run-time, there’s still a likable nature to the characters when on screen together. There’s a spark of creativity to the musical scenes where songs are being worked on and pieced together and while brief there’s an enjoyable nature to them nonetheless. There’s enjoyment to be found in a number of moments, and the film as a whole. It might not feel the most original, and certainly suffers from that fact when it comes to overall engagement throughout, but as films of this nature go this one’s perfectly fine. It may not serve to be the most memorable, but while it’s on it passes by well enough and comes across in just that way as a whole.

While the initial set-up may feel wasted when the film moves on to a very familiar and conventional narrative The Colours Within at least handled well enough for it to move along with little trouble and have moments of enjoyment even if not always being fully engaging.

LFF 2024: 2073 – Review

Release Date – 1st January 2025, Cert – 15, Run-time – 1 hour 23 minutes, Director – Asif Kapadia

Documentary intersecting images of the divided world today with scenes envisaging a dystopian future where freedom has been completely removed.

“When you’re desperate, just surviving, you can’t see what’s been taken away, you can’t fight back” says Samantha Morton’s Ghost as she traipses around the rubble of the dystopian future. Only just getting by on scraps, hope seemingly having faded away, she reflects on the past and where things went wrong. Flashback to 50 years beforehand and Asif Kapadia’s documentary shows a divided world crumbling and crumbling. From climate change and protest crackdowns to right-wing politicians on the world stage and the constant rise of tech moguls Kapadia’s view of the world today is a dark one constantly hurtling towards the empty future he envisages.

There’s an undeniable intensity to the documentary segments and the way in which they’re edited together, making for the strongest elements of the film. They may bring about a sense of wondering who this film is for – throughout it appears to be preaching to the choir, although with messages to rouse the audience, opening and closing text reminds that “it may not be too late for you”, otherwise “people thought the world will end, but it doesn’t, it’s us who will end”.

However, even with this in mind the film still only largely works up to a point if you agree with what it’s depicting. Perhaps this is because of the jumps to 2073, where Morton’s character is seemingly being tracked down by the longstanding dictatorial government – we’re told in the opening stages that Chairwoman Trump has just celebrated 30 years in power. The sections in the future, taking a step outside of documentary, never quite have the same hit and seem slower compared to the heat and speed, much of which appears to come from Kapadia, of news footage of the world as it is today. The base message works, but when cropping up in sections to the side of recent archival clips and images it perhaps doesn’t have the same push that it could have if it were more involved and amongst the most direct moments, where it has the most impact, more often.

At just 83-minutes the short run-time is certainly helpful in keeping the film generally concise yet still effective in its grander and most upfront moments, although as a whole things are very direct from start to finish. Certain moments might feel slower as they take a step away from the most direct and impassioned sections constructed of footage showing the directions in which the world is going, the moments showing a view of what happens once we get there, however, don’t quite have the same punch. A punch which doesn’t always arise as much as you’d hope as you sometimes question who the film is for as it largely appears to attempt to stir action from those who already agree.

There are effective moments in the intense compilations of news footage from the world today, however when 2073 jumps to its view of the future the same feeling isn’t there as it slightly slows down to give statements and messages about action to a crowd who are likely already on board with most of its points.

That Christmas – Review

Cert – PG, Run-time – 1 hour 32 minutes, Director – Simon Otto

After a major snowstorm the small town of Wellington-On-Sea sees its residents separated over Christmas, however while Santa (Brian Cox) also struggles with the weather he may be the one to help.

Richard Curtis loves a multi-story Christmas flick which loosely brings its characters together in various ways. Adapted from his children’s book series, with a screenplay co-written by Curtis and Peter Souter, That Christmas feels like four short films have been stuck together with the loose connection of all being set in the fictional town of Wellington-On-Sea. After a major snowstorm, which only happens overnight and means that people can’t drive but they still seem to be able to get out of their houses perfectly fine, the various residents of the town find themselves separated from each other in various ways over the holiday.

Whether it be new-in-town Danny (Jack Wisniewski) and his recently-divorced nurse mum (Jodie Whittaker), who gets called away due to be being the closest person on call who can walk to care for someone, or teenage Bernadette (India Brown), leading a revolution of creating new ways to embrace tired family traditions with the group of kids she’s left to look after when he parents (Rhys Darby, Lolly Adefope) are stranded with friends on an overturned van on a frozen lake, the extent to which people embrace this separation is large. The storm even causes issues for Santa (Brian Cox – offering a very infrequent narration for the film) as he and his one reindeer (Guz Khan) struggle to get through the weather, but could be the only ones to help the folk of Wellington-On-Sea at this time.

Even at just 92-minutes, including credits, the film feels somewhat stretched when it comes to its various ideas. Certainly, we’ve seen a handful of them before, and here there’s not entirely a festive comfort to that familiarity, but there are one or two light chuckles to help things along. Things might start of tentatively, but once the introductory school nativity begins there are a few laughs to be found to ease into the moment and gradually alleviate the cringe-inducing nature which things initially kick off with. There are still some moments which you can’t help but wince at here and there, particularly in regards to a number of crowbarred gags and references to inclusivity, largely from Bernadette, who stages the nativity, changing the shepherds to organic farmers – although getting a chuckle as they carry with them broccoli, sweetcorn, aubergines and a chickpea – and some young characters’ apparent addiction to their phones and social media.

There are some nice moments between Danny and his mum, who leaves constant reminders and messages to him on post-it notes covering the walls and furniture of their home, and twin Sam (Zazie Hayhurst) makes for a likable character, worrying that her sister, Charlie (Sienna Sayer) is going to be put on the naughty list. How well the intended emotional beats come through might be a bit different as most seem to be lost amongst the lighter, more comedic edges which while trying to embrace a family audience largely skew towards younger viewers in tone and style – the animation is a very safe, Disney-lite style, and a tone and humour which borders often on Aardman-lite. Even a moment dwelling on the idea of Christmas being a time to “celebrate the wins, and live with the losses” is extremely brief as it feels in a rush to make its point that it gets little time to linger and have a proper effect, as if the film simply doesn’t want to dwell on it.

The conflict of a stretched-out rush is present throughout much of the short run-time, particularly in the tonal shifts. But, as a whole, there are enough chuckles and nice moments between characters – one conversation about Wine Gums between Danny and Sam outside her family shop is a warm highlight – to see it through and make for occasionally amusing, and not too difficult, viewing. This may not turn out to be a future Christmas classic like other Richard Curtis linked projects – Love Actually is cited in a scene which implies that parents make their children watch it each year, presumably in an edited version which doesn’t feature strands involving Kris Marshall, Martin Freeman, Joanna Page and some of Alan Rickman and Bill Nighy – but for what it is, for this Christmas, That Christmas turns out to do enough, even if it could push itself more, to amuse for 90-minutes this festive season.

It might not be the most original film, and its tonal shifts can sometimes feel rushed, but there’s enough chuckles within That Christmas’ playful narrative/s to help it along and make for amusing family viewing for another year.

Nutcrackers – Review

Cert – Recommended ages 12+, Run-time – 1 hour 45 minutes, Director – David Gordon Green

Chicago-based real estate dealer Michael (Ben Stiller) finds himself stuck on an Ohio farm looking after his recently-orphaned nephews (Homer, Ulysses, Arlo and Atlas Janson), however with Christmas approaching his stay is continuously extended.

Nutcrackers is an undoubtedly familiar festive comedy. Director David Gordon Green, making another tonal shift in his filmography, this time away from horror legacy sequels, has cited Uncle Buck as a key influence on this particular film, alongside his friend’s children who, after meeting on their family farm where much of Nutcrackers is based, he decided needed a film and so got screenwriter Leland Douglas to form just this. However, Ben Stiller’s Michael Maxwell is a much less relaxed, and infinitely more reluctant, carer than John Candy’s Buck Russell.

Travelling from his busy Chicago real estate job to the countryside of Ohio to look after his four nephews (Homer, Ulysses, Arlo and Atlas Janson) and sort out their getting into foster care after his sister, and her husband, are killed in a car accident. However, with Christmas approaching, and most options involving separating the boys, Michael’s stay is extended, pushing closer to a key work meeting which could lead to a big deal just before Christmas.

The outline is familiar and there’s no denying the convention of the narrative arc here, but there’s a warmth to the film which brings about a likable feeling towards it. Stiller, in his first leading role since 2017’s The Meyerowitz Stories, or even Zoolander 2, and has spent the last few years focusing on AppleTV+ series Severance, brings about a good deal of this warmth of a gentle performance that knows that most of the film’s laughs are intended for the young boys at the core of the narrative.

And indeed they manage to bring about a handful of chuckles here and there, bringing about a sense of chaos to some of their actions – wanting to jump their uncle’s bright-yellow Porsche over the trampoline sat outside their home – without ever feeling like off-the-wall problem children, even if the opening scene does involve them breaking into a fairground to hijack one of the rides. Yes, they’re given quirks and are shown to be pushed away by most other kids, although one strand does involve Michael helping eldest Justice (Homer) to talk to a girl he likes, and while it’s because they stand out and seem different they don’t feel like complete terrors from start to just-before-finish as a number of films tend to present in this vein. They’re more playing around with each other as they would on the freedom of the farm, and having some slightly, in the eyes of townsfolk, anarchic fun in the process.

Through this there’s a good few laughs scattered throughout, especially as the relationship between uncle and nephews begins to grow. To some extent the film recognises its familiar arc and perhaps leans into that to make for an easier watch – a more relaxed film overall as you can tell where things will go from the first few minutes, especially after the first interaction with Linda Cardellini’s foster worker Gretchen explaining the system to Michael shortly after he first arrives. From there there’s a steady pace to the film as a whole and it passes by with an engaging nature which holds up as key to just why it works as well as it does. Keeping that warmth in the performances, particularly Stiller’s welcome leading turn, and the overall tone this is a film that could so easily feel bland and stale but manages to keep its head above water perhaps by finding the right balance and perspective with the central relationship.

While there’s a familiarity to Nutcrackers’ narrative it manages to rise above that with its central warmth and the chuckles it manages to scatter throughout. An overall likable festive flick that could so easily have felt tired.

Beatles ’64 – Review

Cert – Recommended ages 16+, Run-time – 1 hour 47 minutes, Director – David Tedeschi

Documentary charting The Beatles first visit to America, and how their stardom only skyrocketed with their appearance on The Ed Sullivan Show.

Beatles ’64 is unlikely to introduce anything new to anyone. Charting the band’s first trip to America, and their must-watch appearance on The Ed Sullivan Show, this Martin Scorsese-produced documentary is more about Beatlemania (labelled by the papers at the time as ‘Beatl-itis’) than anything else. A portrait of how one country went mad over the four boys from Liverpool.

We see footage from the time of fans trying to find which room they were staying in in their hotel, screaming and crying over the fact that they got to touch Paul or simply talking about which member of the band is their favourite. In the present day talking head interviews take place with fans who saw or interacted with the band at the time. Ronnie Spector pops up to talk about The Ronettes telling The Beatles all about America and the food it has to offer, David Lynch wonderfully recounts seeing them live during their first trip and other interviews include going over all kinds of merchandise from the time to figures remembering just how important it was to watch the Ed Sullivan appearance.

While not really rising above the idea of just how much people loved, and still love, The Beatles, both elements of interviews hammer this point throughout, and how much they brought rock and roll to an even wider audience – a lightly touched upon point with multiple references to Elvis and a light touch upon Little Richard – there’s no denying the likable nature of the footage we see. It’s, of course, nice to see moments of Paul and Ringo reminiscing in the present day, and indeed archival interviews with each individual Beatle, but where the most enjoyment comes from is in the footage from their performances. Simply seeing the band at that still relatively early point in the superstardom playing through amongst the tidal wave of screams, and seemingly having a great time while on stage, holds a good deal of entertainment, with an infectious sense of enjoyment.

As a whole the film acts as a slight scrapbook of memories largely relating to just how popular and loved The Beatles were. A 107-minute detail of this fact, Beatles ’64 certainly feels on the long side, however it manages to provide enough amusement in the archival footage to get it through and make for an overall watchable documentary. Not too in depth and therefore not to challenging, it’ll likely best pose itself as something for major fans of the band to see some unseen footage from the past, otherwise there’s not much new here for more casual viewers who still get a likable time capsule of that moment in music history.

While not really introducing any new information Beatles ’64 makes for an amiable watch with likable footage from the time, particularly involving the fab four at work.

LFF 2024: The Seed Of The Sacred Fig – Review

Release Date – 7th February 2025, Cert – 15, Run-time – 2 hours 47 minutes, Director – Mohammad Rasoulof

Iman (Missagh Zareh) is promoted to investigative judge, however with the benefits of the job comes a growing threat if the public discovers what he does, leading to him taking a harsher stance with his liberal daughters (Mahsa Rostami, Setareh Maleki).

Very shortly after finishing a secretive shooting of his latest feature writer-director Mohammad Rasoulof fled Iran. His films have created conflict with the Iranian government, who have handed him prison sentences for creating anti-regime propaganda or simply filming without a permit, for well over a decade. Having been edited in Germany, with the footage having been smuggled out of Iran to Rasoulof, this is one of the most unflinching and switched on pieces of Iranian cinema I’ve seen in years.

Promoted to the role of investigative judge, Iman’s (Missagh Zareh) job quickly loses its investigative side as he’s asked by multiple colleagues to sign death sentences for people who haven’t been looked into. For this reason Iman is told to keep his job quiet to everyone, including his family. If anyone were to find out there could be a threat to his life, and those of his family; hence why he’s given a gun which he casually tucks into his trousers for if any threat directly confronts him. As unrest and anti-government protests grow with a growing anger at the regime’s control violent videos appear on social media, witnessed by Iman’s teenage daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki).

“What if the law of the country is wrong?” one of them asks their father early on, “God’s will cannot be wrong!” he responds. Familial conflicts grow as sirens can be heard outside the family apartment rushing to step in to the growing protests each night. You can feel the tension and unease in the relationships as Rasoulof creates a strong depiction, and call, about the young’s response to the world of horror around them. Iman finds himself in both a familial and political clash as his words and actions begin to make things worse and could reveal the home address where he lives with his wife (Soheila Golestani) and daughters, none of whom wear hijabs when there, despite it being required by the Iranian regime (including at all times in films).

The first half of the film very much focuses on the two daughters, particularly Rezvan, as social media highlights that what they’re being told at home in regards to the deaths of young activists – their father claims they died of a stroke when it’s widely believed they were killed – might not be true. The film delivers a punch with Rasoulof’s decision to incorporate real footage, and finds some inspiration, from recent protests surrounding the 2022 death of Mahsa Amini. As things develop the focus shifts more on to the family as a whole, especially when more drastic measures are jumped into in the wake of panic from Iman, becoming so sucked into his job that his mistrust of his own family grows into fear and anger, leading to darker and more chaotic decisions.

Leading to a third act which, while slightly pushing the run-time, details the furious mania that Iman descends into as he becomes desperate to protect himself for the sake of his job. The fear factor certainly comes through thanks to Zareh’s performance, confirming the tensions that were building up earlier in the film. While certain turns might start to make the narrative feel somewhat drawn out, especially in the wake of travelling to different locations and the more sinister tone coming alongside it. While as a whole the film fills its almost 3-hour run-time rather well the closing stages do begin to border on feeling like Iran’s answer to The Shining, although here not entirely a bad thing.

It’s not quite the same rallying call as makes up the first two hours, but, as mentioned, the final portion of the film is concerned with the family as a whole than just the way the younger members interact with and view the world around them. Rasoulof’s direction remains specifically aimed and makes sure that the constantly darkening overhanging threat that can’t be seen is always in perspective and view for the viewer as it becomes clearer for the family in different ways. With the references and images from real-world protests adding to the unflinching nature of the film and its narrative, this is a film made with a strong, fiery, determined attitude which adds to its punch and the passionate depictions of its younger characters.

Bordering on feeling overlong in the third act, there’s a passionate call in The Seed Of The Sacred Fig’s unflinching attitude, capturing a consistent tension and overhanging threat, particularly as the young characters piece together the truths of the world they’ve had covered from them for so long.

LFF 2024: The Assessment – Review

Release Date – 8th May 2025, Cert – 18, Run-time – 1 hour 55 minutes, Director – Fleur Fortuné

Scientists Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) hope to pass the 7-day parenthood assessment, however official Virginia (Alicia Vikander) puts them through much more than expected as a test for a child becomes a test on the couple’s relationship.

The Assessment would be a much better film if it were to play as an out-and-out comedy. This isn’t to say that the subject and themes are best suited to a comedy, although that could be the case when seeing which scenes play out best. When leaning into comedy and humour the film is undeniably at its best and flows quickest. A scene involving Alicia Vikander’s government official Virginia crawling around a dinner party table behaving like a toddler, and the reactions of those around her – especially Minnie Driver who only appears briefly but brilliantly chews up the scenery as soon as she appears on screen – are undeniably funny.

Virginia’s behaviour switches immediately from formal to childlike as soon as the assessment of scientists Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) begins. In a future where who can and can’t have children is under government control, they must pass a seven-day test in order to be given approval to be parents to their own baby. However, as the test goes on Virginia’s behaviour not only tests the couple’s parenting abilities but also the strength of their relationship as a whole. Her behaviour, and enjoyable performance, would undoubtedly fit in better in a full comedy instead of a sci-fi influenced dramedy. This is until the turns of the second half where certain character decisions simply feel uncomfortable and unnecessary.

The themes and ideas of the film are clear throughout with subtext not being a full item on the agenda, despite the initial implications of the look and setting of the dystopian future house the couple live in – slightly plucked out of a 60s view of the future. As the drama grows in the latter stages of the narrative darker character interactions begin to emerge which deviate from the initial thread of the film. Much of the events begin to feel like an extended epilogue rather than a rounding off the story and as a whole a film that avoided feeling like a trudge because of its humour becomes stony-faced and humourless – starting to feel as if it believes it’s saying and doing more than the upfront elements.

At just under two-hours this is a long assessment, particularly because of the drawn out nature of the third act and just how much it wants to get show in that time as an explanation to what we’ve seen beforehand. As character interactions become more heated and confrontational the film itself loses steam as things deviate from the initial ideas which work well enough, if somewhat basically at times. There’s a likable nature in the first half, and in some moments afterwards, when it appears to have a more playful nature, and is aware that one of its key players is acting like a (albeit aging) child.

Starting off as a likable dramedy, helped by performances which understand the comedic elements, The Assessment dips off the more dramatic it gets. Working until multiple tangents cause it to become a different, less successful, film which doesn’t say as much as it perhaps wants to.